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"BLISSFULLY LOVELY! ... Is there a more enchanting musical in
New York right now than In Circles?
My guess is, probably not: if you crave simplicity and beauty and can do without
narrative or convention, then Kaliyuga Arts' revival of this rare jewel of a
show is for you ... The genius of this show is how composer/creator/musical
arranger Al Carmines found, inside Stein's spare but dense poetry, a vibrant and
gorgeous celebration of the moment-to-moment pleasures and enervations of life.
Paired with his melodies that sometimes sparkle and sometimes soar, and
presented here elegantly by director John Sowle and a truly accomplished
ensemble, the piece charms and amuses and teases and - catching us by surprise -
moves us deeply. Recall that Stein wrote a book called Everybody's
Autobiography: should we wonder that with Carmines she can create for us
something as ephemeral and fundamental as Our
Town? ... Kaliyuga Arts is presenting In
Circles at Judson Memorial
Church, where Carmines first staged it more than 40 years ago. It will only be
there one week more, which is very sad, because it's the kind of show I can
imagine wanting to see many times - to be reminded, as we must, how fleeting
is...everything."
Martin Denton, nytheatre.com (click
for a link to the full review)
"BACKSTAGE PICK! ... Can it be 41 years since In
Circles first appeared? The 1967
musical that composer Al Carmines fashioned from Gertrude Stein's 1920 A
Circular Play remains a joyous,
still relevant affair ... Even before the evening's official start, Stein and
partner Alice B. Toklas - here respectively called Mildred and Mabel - greet the
audience and pass out brownies (presumably not made according to Stein's famous
marijuana-laced recipe). That party atmosphere is maintained throughout as
circles of friendship, love, sex, bliss, and loss are formed."
David A Rosenberg, Backstage (click
for a link to the full review)
Slideshow
"Nonlinear structure is a hallmark of avant-garde theatre, yet
there has probably never been a production that celebrates the nonlinear like -
at the risk of sounding redundant - In
Circles ... Al Carmines' lively
musical arrangement of the text is a stunning achievement that earned him a 1968
Obie for Best Musical and helped usher in the experimental style that found a
home in early Off-Off-Broadway. Such experimentation is no longer as
revolutionary as it was in the 20s or 60s, and much of the production feels like
something from another era. Interestingly, that's not a bad thing for the piece.
In the dedicated hands of director John Sowle, what might otherwise come across
as dated instead enhances the play's other-worldly ambience. That ambience is
strongly supported by Mike Floyd's delightful 1920s-esque costumes and Joe
Novak's arrestingly beautiful light design ... The ensemble is both playful and
polished, a remarkable accomplishment given the apparent lack of specificity
written into each role. Stein's text lists no characters and contains no real
dialogue; In Circlesassigns
lines to an ensemble of ten, with characters loosely influenced by Gertrude
Stein and her circle of friends from the years surrounding WWI. It's an inspired
choice. The onstage manifestation of how Stein perceived her world is a pleasure
to watch ... Sense of community pervades In
Circles, from the performers' unified enthusiasm in executing Jack Dyville's
dizzying choreography to the delight they take in one another's singing. Even at
the play's least comprehensible moments, the warmth of the performers and their
dedication to the material should keep audiences not just at ease but enraptured
... In Circles oscillates
between the inspired exuberance and the melancholic desperation associated with
both the Lost Generation of the 1920s and the activists of the 1960s. Anyone
nostalgic for such a time - and anyone seeking a powerful theatrical experience
- would do well to see In
Circles."
Li Cornfeld, offoffonline.com (click
for a link to the full review)
"Like a Sufi, the Steiny Road Poet is spinning with ecstatic
energy. On February 12, 2008, she attended the opening night of Kaliyuga Arts'
and John Sowle's new production of In
Circles, Al Carmines' musical setting of Gertrude Stein's A
Circular Play ... Carmines would
have been pleased to see how this crowd brought so much new excitement to his
celebration of Stein ... In
Circles is a kitchen-sink musical
offering everything from klezmer to ballroom tunes. Another thing Sowle has
added to this production is a dizzying procession of dance numbers that include
such forms as tango, waltz, can-can, charleston, cakewalk, Black Bottom,
soft-shoe, folkish circle dancing with grapevine steps ... Like a stone cast in
water, Sowle and his talented players made In
Circles a rich evening of
Steinian theater that the Steiny Road Poet will continue to receive insight
from. In the meantime, as she continues to spin with excitement, she knows
better how to travel in the presence of the Divine. Hats off to Al Carmines!"
Karren Alenier, Scene
4 Magazine (click
for a link to the full review)
"At a performance of this fantastic revival of one of
Carmines' own signature works In
Circles, an actor served me a brownie and engaged me in conversation.
Despite being about the supreme 20th Century wordsmith Gertrude Stein and her
lover, this was not an Alice B. Toklas brownie, so no pot buzz, darn it. Still
it was delicious, and anyway, I didn't need marijuana or any other
hallucinogenic to take me on a head trip. This psychedelic, weird-but-wonderful
show gave me a contact high. First off, let me state outright: I'm not a
Broadway show queen. As soon as I hear the orchestra breaking into song, I want
to lurch for the exit. But In
Circles helped to reaffirm my
faith in the genre. The synergy among the ensemble totally put across the work's
inherent scintillating wit and touching eccentricity ... This 1968 show, now
playing for a short run back where it debuted at the Judson Memorial Church on
Washington Square Park, is a gem. Catch it, please, because only Heaven (where
Rev. Al is surely smiling down on this top-notch revival) knows when it will
return to this sphere ... The songs nearly brought this jaded listener to tears
several times ... This production is a dream come true. One of your weirdest,
most powerful dreams. This production of In
Circles left me humming,
thinking, and feeling that I'd just experienced something remarkable and
important."
Steven Sparling, The
Edge New York (click
for a link to the full review)
"BET #1 - HURRY THIS WINDOW CLOSES SOON. IN
CIRCLES, A STEINIAN MUSICAL
Normally the Dresser would give full attention to anything having to with
Gertrude Stein and she will as the Steiny Road Poet in her March column of The
Steiny Road to Operadom in Scene
4 Magazine, but In Circles,
in a new production by Director John Sowle, will close February 22, 2008, and
the show deserves attention immediately so you, Dear Reader, will know what an
exciting and historic opportunity this show presents ... If you have been
curious about the work of Gertrude Stein, this would be the show to see because
Sowle's interpretation threads discernable stories and puts Gertrude Stein and
her partner Alice B. Toklas into the spotlight. Based on Stein's A
Circular Play: A Play in Circles, which she wrote in 1920, In
Circles is a nearly
word-for-word rendering of Stein's play that has no character assignments or
stage directions. Although they do not follow a linear narrative, the play and
musical offer cubist cuts of human dramas about loss (a young man is killed in a
war), an adoption of a child, several love stories, and the daily-ness of
everyday, including eating, arguing, chopping wood, and even blowing one's nose.
The human drama is sadly touching, comically endearing, and made intimate from
the moment the players enter the staging arena and begin greeting the audience
... Zany and joyful!"
Karren LaLonde Alenier, The
Dressing (click
for a link to the full review)
"IN CIRCLES SHOULD STAY AROUND ... I went to three
musicals this week and I enjoyed them all. But please, don't summon the men in
the white coats just yet; my reasons are easy to explain: In all three shows,
something of importance to the creators has been fully articulated according to
their own lights. As a result, all three entertain people like me—and give us an
inkling of that importance—without going through all the hard-sell calculations
that make big commercial musicals so annoying these days. Importance is a
relative concept: The key is never how "serious" the material is, but how fully
it engages the artists involved. The beauty of both Adding Machine and Passing
Strange is that they feel complete. When you leave, you've gotten everything the
creators had to tell you about this story. The all-too-brief revival of In
Circles, a 1967 work, made a happy reminder that this sense of completeness has
always been the musical's goal ... In 1967, In Circles was an extraordinarily
light-hearted event, one of the earliest triumphs in the magical collaboration
of minister-composer Al Carmines and director Lawrence Kornfeld on Gertrude
Stein's allegedly intractable plays. In Circles, written in 1920, is steeped in
post–World War I atmosphere; for all its lightness, it rang with eerie resonance
in those Vietnam days. Ours is a darker wartime, and John Sowle's revival at
Judson, for Kaliyuga Arts, reflected that deeper darkness in its staging.
Fortunately, Sowles' cast boasted many first rate singers, particularly the
sopranos, so that Carmines' enchanting music kept rescuing the situation with
its plangent melodies and deliciously unexpected turns of phrase. A little Stein
and Carmines every month might cure all kinds of contemporary ills."
Michael Feingold, Village Voice
"In Circles is
a marvelous piece of musical theater, full of entertainment and surprises,
sentiment, humor, enterprising in the extreme in its musical mix of high art,
klezmer, soft-shoe and show-tune. And quite faithful to Stein ... The way to
read Stein is to hear Stein,
and In Circles makes
her audible, and thus provides a marvelous introduction. More than an
introduction, though; In Circles is
also an enlargement of Stein's original play. Carmines expands it to a
full-evening production, weaving, yes, circles around Stein's motifs, lifting a
once-only chance remark — Mrs de Monzy has adopted a child —
into a full-out production number; or assigning lines to one or another of the
four boys and four girls in the cast ("boys" and "girls" in the theatrical
sense) and returning to them, re-investigating them in new contexts and
ensembles, and thus revealing new depth and meaning. The result is Cubism, the
isolation and consideration of various apparently different aspects of a given
event (phrase, character, face) in a manner to enlarge its meanings. This is
criticism at its best. So many of the best examples of Criticism are, in fact,
works of art themselves, and Theater is the public location of this par
excellence."
Charles Shere, The Eastside View
"The
divine diva of high modernist literature is
mostly known for her challenge,
deconstruction, and all-out demolition of
English syntax (see: The
Making of Americans); but rarely is the
jaunty, even fun side of her diction and
rhythms remarked upon much. Nowhere is this
more apparent than in Kaliyuga
Arts’ presentation of In
Circles at
the Judson
Church. The
hour-and-fifteen-minute piece is charming
from the get-go, with a representative
Gertrude and Alice-type couple emerging to
greet the audience, as though we’re perhaps
part of one of the famous Paris salons. 'So
many new friends,' Gertrude
beams, 'How
wonderful!' One almost expects her to
give out homemade cookies (which,
incidentally, does occur later).
Filled with dance, amazing vocal
performances by the cast, and wonderful
1920s-era costumes byMike
Floyd, it’s easy to be taken away
by In
Circles ... How
often can I make the recommendation that
this would be a wonderful piece to introduce
children to cubistic literature?"
Steven Luber, Obscene
Jester
"Astonishing ...
Strange, funny, and profoundly moving. And
the music is just stunning - very simple,
catchy on the surface, resonant and rich in
its repetition. Like Stein's words, but
without any whiff of artiness or 'high'
music ... It only has four more shows. If at
all possible, go see it."
David Johnston, Theatre,
Culture, Politics & Stuff I Like (click
for a link to the full review)
"The exuberance of
Stein’s words and Carmines’ music is a
restorative and joyful experience. I have
written two essays about the production,
which was lovingly and intelligently
directed by John Sowle of Kaliyuga Arts. One
of these two essays is currently posted on
my arts blog The
Dressing and the other will appear in my
Steiny Road to Operadom column in the March
edition of Scene4
Magazine. The play deserves as much
promotion as it can get before it closes
February 22, 2008."
Karren Alenier, alenier.blogspot.com
"IN CIRCLES: This revival of the rarely-seen
musical by Al Carmines and Gertrude Stein is a beautiful celebration of
the everyday moments of living. The staging by John Sowle and the
ten-member cast is glorious. PICK OF THE WEEK!"
nytheatre.com
Kaliyuga Arts was thrilled to bring In
Circles, a seminal work from the
early days of off-off-Broadway, back to Judson Memorial Church where it
originally premiered in 1967. The fractured, evocative text of Gertrude Stein’s
1920 A Circular Play is
set spinning to Al Carmines' wildly eclectic, disgracefully tuneful score in
this 1968 Obie-Award-winning musical masterpiece.
In Circles was Kaliyuga Arts’
third New York production following its successful staging of Samuel Beckett’s All
That Fall and
its Innovative Theatre Award-nominated presentation of Dan Carbone’s Kingdom
of Not, both at the Cherry Lane Theatre. It
was also Kaliyuga’s second production of In
Circles, which it presented to critical acclaim in Los Angeles in 1986,
winning five Drama-Logue awards.
Hear (and download) an excerpt from the show (and
5 others) on
NYTHEATRECAST (the voice of nytheatre.com) Episode #191
http://www.nytheatrecast.com
"In
Circles is a beautiful
recapturing of that time early in the 20th century
when art seemed to be a Paris of the mind where all sensitive spirits could live
in a universal communion of form, wit, and feeling. A madly meaningful tea party
which composer Al Carmines has turned into a gemlike operetta."
Jack Kroll,
Newsweek Magazine
"Al Carmines and Gertrude Stein have, between them,
brought the element of pure delight back to the theatre."
Edith Oliver,
New Yorker Magazine
"Great fun! One of the most delightful shows in New
York."
Dan Sullivan,
New York Times
"Hypnotic, charming, and blissful! Mr. Carmines
must eat music in the morning instead of breakfast cereal, rather as Gertrude
Stein once must have eaten words. His music is arrogantly eclectic,
disgracefully tuneful, and just right for the purpose."
Clive Barnes,
New York Times
"Any attempt to interpret or pin down this enchanting
excursion into the iridescent, fantastical world of Gertrude Stein would be to
put a butterfly in a cage. In
Circles is not to be explained,
it is to be experienced and enjoyed."
Polly Warfield, Drama-Logue
"Rich, scintillatingly harmonic and deftly haunting."
Robert Koehler,
Los Angeles Times
"Seductively enchanting ... as though Kurt Weill had
collaborated with Apollinaire."
Steven Mikulan,
L.A. Weekly
"In Circles is
definitely a play to be experienced ... A memorable night of theatre."
Lynne Lee,
The News
"A poetic pleasure of a play and something rare: a
work of true originality."
Richard Labonte,
Update
"It's funny, it's incomprehensible, it's beautiful,
it's harsh, but it is, most of all, thoroughly engrossing and entertaining .. A
vitality filled evening that cannot help leaving a profound imprint on the
audience."
Nancy Illo,
Daily Titan
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PAUL
BOESING (William),
during a span of fifty years in the theater, has done nearly
everything. In New York City in the early sixties, he was a member
of Joe Chaikin's Open Theater Workshop. He moved to
Minneapolis in 1965 to join the Firehouse Theater, where he was a
leading member of the ensemble. In 1968, he was an original
member of Peter Brook's International Workshop in Paris and London.
In Minneapolis, he met his former wife, Martha, and they created
many songs and music-dramas together. Paul's acting career has taken
him to many regional theater centers, including St. Paul, St. Louis,
Milwaukee and Madison. As a singing actor, he played many
leading roles in the oldest and largest dinner theatre in the
country at Chanhassen, MN. Paul has appeared in several seasons of
The Nebraska Shakespeare Festival, playing Polonius in HAMLET, among
other roles. Next summer he will play King Lear. As a composer, Paul
has written hundreds of songs, and many works for the theater, from
musical comedy to opera. He has written several scores for The
Nebraska Shakespeare Festival. He set a Gertrude Stein play (Photograph)
to music which was very influenced by Al Carmines. For Madison
Repertory Theater, he created a score for live glass instruments,
performed by world- renowned glass harmonica player, Dennis James.
Paul created a song/dance/theater piece for Tom Bogdan ( who has
sung with Meredith Monk's ensemble) using the poems of W.H. Auden.
The premiere was presented in New York City in Februrary 1999. Last
fall, his Wachsenden
Ringen, a song cycle for mezzo-soprano and chamber ensemble set
to the poetry of Rainer Maria Rilke, was premiered in Omaha.
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SARAH
FERRO (Jessie) takes
the stage with extreme gratitude to John Sowle for bringing this
piece to life, and giving her this great opportunity. Ms. Ferro has
been a performer ever since she got her start in Army Community
Theater as a military brat at the age of 5 with roles such as Helen
Keller in The Miracle
Worker, Pepper in Annie, and
Maria in The Sound of
Music. Upon completing a degree in music and theater from the
University of Miami, Sarah has been the lead singer on board cruise
ships, cabaret venues and various regional theaters. Favorite
productions include Berlin
To Broadway: The Music of Kurt Weill, Batboy: The Musical, Harry
Chapin's America andCome
Fly With Me: The Music of Sammy Cahn. Sarah is currently working
on an upcoming one-woman cabaret to be seen early spring at Rita
Mae's in the West Village. Sarah is a proud member of Actors' Equity
Association.
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MEGHAN HALES (Sylvia) is
ecstatic to be making her NYC debut in this most intriguing piece!
She earned a BFA at the Hartt School. Shortly after graduation, she
went out on the national tour of My
Heart in a Suitcase as
Anne. Some favorite credits include the Beggar Woman in Sweeney
Todd, Milly in Seven
Brides for Seven Brothers, I
Love You, You're Perfect, Now Change, and Carousel with
Shirley Jones. She thanks her family for their indefatigable love
and support.
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MICHAEL LAZAR (Brother) holds
a 2006 BFA from NYU’s Tisch School of the Arts. While his first and
foremost passion lies in performing onstage, he is an aspiring
contemporary visual artist and painter as well, and intends to fully
pursue both with the aim of one day being a strong force in both
artistic communities in NYC. National tours: Mr. Mayor/Wick #1 in
Ahrens and Flaherty's Seussical
the Musical. NY theatre: Jackie in Michael John LaChiusa’s Wild
Party at the Culture
Project, Ethan in The
Full Monty, Shakespeare in The
Jocker, Lucius Andronicus in Titus
Andronicus. Other favorites: Joe Hardy in Damn
Yankees, Will Parker in Oklahoma!,
Lysander in A
Midsummer Night’s Dream, Billy Crocker in Damn
Yankees! It’s both a pleasure and a thrill have the
opportunity to work with such unique material and perform with such
wonderfully talented people! For my fam. Proud member of AEA.
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PAUL LINCOLN (Ollie) is
an active performer and teacher in the New York City area. During
college, as a member of the Harvard Krokodiloes, he made his solo
and conducting debut at Carnegie Hall. Later engagements as a
soloist include the Cairo Opera House, Sydney Opera House, Rome
Festival and an invitation to sing at the Kennedy Center Millennium
Celebrations. Paul has performed in numerous operas and musical
theater productions around the world including the original cast of
the First National tour of Cabaret.
Paul helped develop, music directed and played the part of Euturpe
in the world premier of Lyrical Langston: His Muse for Music.
Later, he produced a successful commercial run of this show in
association with the Lost Nation Theater. Paul teaches and coaches
in New York and works regularly with Tony Award-winning Broadway
performers as well as professional opera singers. He teaches
privately and as a Soyulla Artist. Paul is also a member of the
California Bar and volunteers as a lawyer for environmental
organizations.
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ROBIN MANNING (Mabel) is
proud to be a part of In
Circles, her third musical by the great Al Carmines. She
also appeared in Christmas
Rappings as Mary, and The
Journey of Snow White (dir:
Russ Treyz) as the Stepmother/Queen, also at Judson. Her other
credits include the National tour of La
Cage aux Folles (dir.
Arthur Laurents), the 15th Anniversary tour of Annie (dir.
Bob Fitch), and regional and stock productions of The
Sound of Music, A
Tale of Two Cities (dir.
Richard Sabellico), Teddy
and Alice, Victor/Victoria, Zorba ,and Annie at
such theaters as North Shore, Ogunquit, and the Helen Hayes. Her
other NYC credits include Broadway
Blessing '07 (St John
the Divine),Wallenberg (NYMF
'06), I Married an
Angel (Town Hall), The
Yiddish Trojan Women (ass't
dir. to Richard Sabellico at AJT) and assorted readings and national
commercials. She is especially proud of being a producer of Auntie
Mame starring Charles
Busch, a benefit for BCEFA! For Stewie.
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NOELLE MCGRATH (Mildred) A
versatile actress and singer with many roles to her credit, Noelle
comes full circle with this production ofIn Circles, having
been a member of the cast of Kaliyuga Arts' 1986 production in Los
Angeles. Recent credits include Countess Aurelia inThe Madwoman
of Chaillot Off-Broadway
at Theatre Unplugged, the Gypsy Fortune-teller in Sleepy
Hollow at the York
Theatre, and Miss Havisham in Great
Expectations at the
Mill Mountain Theatre in Virginia. Noelle can be seen in March at
the Laurie Beechman Theatre at the West Bank Cafe in Theatre Row
performing her cabaret act, Noelle
McGrath Entertains! Ms.
McGrath coaches young people in acting and voice and is the mother
of three budding performers, Lily, Juliet and Colin.
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STEVEN PATTERSON
(George) has
appeared Off Broadway (in his own Genet-inspired one-man show Beauty)
and Off-Off Broadway, as
well as regionally with such theaters as the Oregon, Orlando, Utah,
Lake Tahoe, and Sierra Shakespeare Festivals, South Coast Repertory,
TheatreWorks (Palo Alto), American Musical Theatre of San Jose, 42nd Street
Moon, Chenango River Theatre, the Lexington Conservatory Theatre,
and, most frequently, with Kaliyuga Arts. Recent roles have included
Austin Wiggin in The
Shaggs: Philosophy of the World, Mr.
Barrell in Beckett’s All
That Fall, Owen Musser in The
Foreigner, Homais
in a musical version of Flaubert’s Madame
Bovary, Cassius in Julius
Caesar, Kent in King
Lear, and two solo shows: Jim Helsinger’s Frankenstein:
the Modern Prometheus and
Gareth Armstrong’s Shylock.
On film, Steven has appeared as Bruce in Joseph Graham's Vanilla and
in Bill Rose's documentary The
Loss of Nameless Things.
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MAUREEN TAYLOR (Lucy) is
thrilled to be participating with all the wonderful talents of the In
Circles community!
Performing has been a fabulous journey for her. First stop: OPERA -
All over - including a fabulous chapter in Italy with Renata
Tebaldi. Next stop: SWITZERLAND - thrilled to perform Madame Giry in Phantom
of the Opera...in German! Next stop: LONDON - Lots of benefits:
Tribute to Jule Styne at the London Palladium, Theatre Royale, the
Bridewell, Heva Castle, Brighton...and a surprise twist: a "New Age"
recording with Tim Wheater -Incantations. Returning to the
states brought lots of regional theatre, soaps, commercials, print
work, and cabaret - most recently at the Eugene O'Neill Cabaret
Conference with Michael Bush, Penny Fuller and Barry Kleinbort. With
joy and gratitude to all the "Guardian Angels" along the way...the
journey continues.
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ANTHONY WILLS JR. (Dole) recently
relocated to New York where he's performed in Avenue
X (Dreamlight
Theatre), Talking to
Terrorists(Culture Project), A
Season of Miracles (Pushcart
Players) and his own one-man show, The
Happiness of Schizophrenia (New
York International Fringe Festival). Regional credits include
seasons at Milwaukee Rep, Utah Shakespearean Festival, Pennsylvania
Centre Stage, and First Stage Children's Theater. In his former home
of Chicago, he's performed with many companies including Dream
Theater, House, Hypocrites, Lookingglass, Northlight, and
Steppenwolf. Memorable roles include Lovin' Al (Working),
Doc Daneeka/Chaplain (Catch-22), Lot (Lot's Wife), and
Bokonon in a staged adaptation of Kurt Vonnegut's Cat's
Cradle which he
performed at Lifeline Theater .
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JOHN SOWLE (Director/Set Design) has
a Ph.D. in Dramatic Art from the University of California at
Berkeley and an S.B. in Mathematics from the MIT. For Off-Broadway
he designed for the Quantum Leap production of Dostoyevsky's Crime
and Punishment at the
Harold Clurman Theatre and directed and designed Steven Patterson’s Beauty at
Rattlestick. He has also directed and/or designed productions for
J.B. Enterprises (the world premieres of Crime
and Variations and Mary
In The Hydrangea Bush), Contemporary Opera Marin (U.S. premieres
of Judith Weir's Heaven
Ablaze In His Breast and
H.K. Gruber's Gomorra),
the UC Berkeley Drama and Music Departments, EXIT Theatre (1999
Upstage/Downstage Award for his Scenic Design for Problem
Child), Signal Theatre Company (2000 Upstage/Downstage Award for
his Scenic Design for The
Years), Teatro Shalom, The Bare Stage, the Jean Shelton Acting
Studio, Theatre Metamorphosis, One-Act Theatre Company, the People's
Theatre Coalition of San Francisco, the Berkeley Jewish Theatre and
Theatre Rhinoceros. For the EXIT Theatre’s Absurdist Series, John
directed and designed sets for Samuel Beckett's radio play All
That Fall, Robert Montgomery's Subject
to Fits, Gertrude Stein's Do
Let Us Go Away. A Play, and
the world premiere of Dan Carbone's Salvador
Dali Talks to the Animals. For Kaliyuga Arts John received three
Drama-Logue Awards for his directing and design work on their Los
Angeles productions of In
Circles, King of
the Crystal Palace, and Garcia Lorca’sThe Public, and in
San Francisco he directed and designed their productions of The
Client and The
Secret of the Old Queen (at
the New Conservatory Theatre), Beauty (1994
San Francisco Fringe Festival and subsequent tours), Poor
Super Man (SOMAR
Cultural Center), L'Histoire
de Babar (1997 SF
Fringe Festival), PRIDE (EXIT
Stage Left), The
Pilgrim Project (2001
SF Fringe Festival), Up
From The Ground, and An
Impersonation of Angels or The Enigma of Desire (EXIT
on Taylor), and created and performed a one-person show called Horripilation! ("Best
of the SF Fringe") based on his experiences in India on a Fulbright
Fellowship. For Kaliyuga Arts in Manhattan he directed and designed
Beckett's All That
Fall and the New York
premiere of Dan Carbone's Kingdom
of Not, both at
the Cherry Lane Theatre.
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JACK DYVILLE (Choreographer/Production
Stage Manager) is
thrilled to be working on his third Kaliyuga project (All That
Fall – Stage
Manager/Foley Sound, Kingdom
of Not – Production
Assistant; both at the Cherry Lane). Dyville, a former
dancer-actor-singer works now as a Director-Choreographer-Stage
Manager with other NYC credits including: Off B’way – Movie
Buff and DuBarry
Was A Lady; Off-Off B’way – What
Makes Sammy Run? and
his own written works Umbrellas
in the Snow and The
Memory Book at the
Strawberry Festival, The Wonderland Festival and the NY FRINGE.
Dyville has directed/choreographed at Surflight Theatre, Casa
Manana, Allenberry, and Mountain Playhouse to list a few. He is a
member of Ten Grand Productions and is also working with Algonquin
Productions of NYC. |
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MIKE FLOYD (Costume Designer) Mike’s
recent design credits are All’s
Well That Ends Well (Yale
Repertory Theater); Lady (Northlight
Theatre, IL) Hedda
Gabler; A
Midsummer Night’s Dream; Mirror,
Mirror by Sarah Treem
(Yale School of Drama); Hedda
Gabler, MacBeth, The
Taming of the Shrew, Twelfth
Night (Trinity Rep
Consortium);Little Shop of Horrors; Unnecessary
Farce by Paul Slade
Smith; Doubt (Peninsula
Players, WI); The
Audition (a film
written and directed by Jim Augustine); Sympathy
Jones(NYMF 2007), and The
Dumb Waiter (Theater
5, NYC). As an assistant, he has worked with Donna Zakowska (on the
upcoming John Adams on
HBO and for Kaos at
NYTW), Jane Greenwood, Suttirat Larlarb, Camille Assaf (on Elmer
Gantry, an Opera that premiered this past fall and was
subsequently remounted this winter), and other artists in New York
and elsewhere. He has worked with the National High School
Institute at Northwestern University repeatedly, designing shows
such as Angels in
America, I Am My
Own Wife, Polaroid
Stories, and Balm
in Gilead. His designs for Amadeus and Faust were
featured in the Prague Quadrennial this past summer. He holds an
MFA in Design from the Yale School of Drama, a BA from Kenyon
College, and also attended the British-American Drama Academy.
Examples of his work can be seen at www.mikefloyddesign.com. |
|
JOE NOVAK (Lighting
Design)
Design credits include Off-Broadway: Odds Bodkin’s The
Odyssey (Lincoln
Center), Off-Off Broadway: Macbeth (Another
Theatre Company),Midnight (Invisible
Theatre Company), several dance and musical events including Penny-4-Eyes.
Joe has been the lighting supervisor for Glimmerglass Opera, Martha
Graham Dance Company and Aquila Theatre Company. Visit Joe at
www.joenovak.net.
|
MICHAEL TEMLIN (Follow Spot)
Michael has been working in theater since childhood. Primarily
an actor/singer, Michael’s New York credits include the role of
God in the original production of The
Perfect Daydream, Helmer in Nora at
HB Studio, and his cabaret debut in last year’s Back
in the Swing at
Don’t Tell Mama. Bay Area credits includeHello, Dolly! (Dean
Goodman Choice award) and ".
. . Forum" for
the Mountain Play, Man
of La Mancha at
Pacific Alliance, California
Suite at the
California Conservatory Theater, Big
River at AMT San
Jose, Sweet
Adeline and Dearest
Enemy with 42nd
Street Moon, three years with Morris Bobrow's hit revue Party
of One (including
three tours), City
of Angels (Shellie
Award) and Candide with
Diablo Light Opera Company, and Once
Upon a Mattress at
San Francisco's California Club, (where he played the wicked
queen Aggravaine!). He holds a degree in theater from Lehigh
University.
|
All cast members are members of Actors' Equity Association. Jack
Dyville is a member of Actors' Equity and of the Society of Stage Directors
& Choreographers. In Circles is
an Equity Approved Showcase Production.
Judson Memorial Church
55 Washington Square Park South
New York City
Tues Feb 12 thru Friday Feb 22
8:00 pm daily except Sunday, Feb 17
Running Time: 1 hour 20 minutes with no intermission
Kaliyuga Arts, 2678 Old Kings Road, Catskill NY 12414
518-943-3894
Copyright © 2015, Kaliyuga Arts